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Intellect Books - Marcelline Block

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Description

As France’s oldest city, Marseilles has a significant cinematic culture, dating back to the 1890s when the Lumière brothers shot many films there. Due to its prolific film industry in the 1920s, Marseilles was referred to as “the French Los Angeles.”

World Film Locations: Marseilles examines the representations of this port city in cinema, through essays and film scene reviews devoted to an exploration of its topography as depicted by Jean Epstein, Jean-Luc Godard, Jean-Pierre Melville, Jean Renoir, Jean-Jacques Beineix, and many others. This volume showcases Marseilles’s diversity as articulated onscreen: from the winding streets of the Panier to the Old Port’s noisy markets, from the bustling Canebière to the dockyards of the Grand Port Maritime, from the cliffs of Provençal encircling the city to sun-drenched calanques leading to the dazzling cerulean sea. World Film Locations: Marseilles features maps of film scenes, high-quality screengrabs, and images of movie locations as they appear today, accompanied by original texts penned by leading international film scholars and critics and an interview with Marseillais director Robert Guédiguian. Marseilles has been named a 2013–14 European Capital of Culture and this book is a fitting and timely tribute.

Maps/Scenes Scenes 1-8 1923 - 1950 Scenes 9-16 1955 - 1971 Scenes 17-24 1974 - 1995 Scenes 25-32 1997 - 2002 Scenes 33-39 2002 - 2006 Scenes 40-46 2007 - 2011 Essays Marseilles: City of the Imagination - Steven Ungar Marcel Pagnol’s Marseilles: Marius, Fanny, César - Rebecca Prime The Old Port and The Canebière - Jean-Luc Lioult ‘The Underworld is in His Lands’: Marseilles Gangster Films - Olivier Bohler Cinematic Adaptations of Jean-Claude Izzo’s Marseilles Novels - Georgiana M.M. Colvile Marseilles Melting Pot: Immigrants, Refugees and Stateless characters - Henri-Simon Blanc-Hoàng Robert Guédiguian and Ariane Ascaride: In Conversation - Georgiana M.M. Colvile

Sujets

Sciences et techniques

Película fotográfica

Reference

Telecommunications engineering

History of film

Film

Informations

Publié par	Intellect Books
Date de parution	01 janvier 2013
Nombre de lectures	1
EAN13	9781783201723
Langue	English
Poids de l'ouvrage	5 Mo

Informations légales : prix de location à la page 0,0950€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

WORLD FILM LOCATIONS MARSEILLES Edited byMarcelline Block

WORLD FILM LOCATIONS MARSEILLES Edited by Marcelline Block

First Published in the UK in 2013 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First Published in the USA in 2013 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA

Copy Editor: Emma Rhys

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written consent.

A Catalogue record for this book is available from the British Library

WorldFilmLocationsSeries ISSN: 20459009 eISSN: 20459017

World Film Locations Marseilles ISBN: 9781841507231 eISBN: 9781841508047

Printed and bound by Bell & Bain Limited, Glasgow

WORLD FILM LOCATIONS MARSEILLES

e dI T o r MàÇÉîÉ BôÇ

s e rI e s e dI T o r & de s Ign GàîÉ Sôôôŝ

c o n T rI b u T o r s EîàÉ AÉÉ , AîÉÉ AÉô, HÉîSîô BàÇHôÀ, MàÇÉîÉ BôÇ, OîîÉ BôÉ, Oàà Cîôîû, GÉôîàà M. M. CôîÉ, JÉ CôôY, SàY îtÉàLÉîŝ, MàÇô Gôŝôî, Kîŝîîà HàÇÉ, SÇôt Jôà Hàîŝ, AÉ HôÉ, ZàÇàY ïÉ, AÉtÉ ïŝô, NààîÉ Kàîàîŝ, JÉàLûÇ Lîôû, LàÇÉ LûÉŝî, RÉÉÇÇà PîÉ, ZàÇàîà Rûŝ, PàÉà C. SÇôî, SÉÉ Uà, KàÉîÉ A. WàÉ, îà WàŝŝÉà

l o caT I o n p h o T o gr a p h y GàîÉ Sôôôŝ à JÉàLûÇ Lîôû ûÉŝŝ ôÉîŝÉ ÇÉîÉ

l o caT I o n m a p s JôÉ KÉîÉY

p ub l I s h e d by ïÉÉÇ É Mî, Pàà Rôà, îŝôŝ, Bîŝô, BS16 3JG, UK : +44 0 117 9589910 : +44 0 117 9589911 E:îno@îneecbooks.com

Bookends: Vieux-Port (Gabriel Solomons) This page:22 Bullets/L'Immortel(Kobal) Overleaf: Le Corbusier's Cité radieuse (Gabriel Solomons)

CONTENTS

Màŝ/Sçééŝ

10Sçééŝ 1-81923 - 1950

30Sçééŝ 9-161955 - 1971

Sçééŝ 17-241974 - 1995

Sçééŝ 25-321997 - 2002

90Sçééŝ 33-392002 - 2006

108

Sçééŝ 40-462007 - 2011

WôDFîLôçàîôŝ| Marseîes

Eŝŝàyŝ

6Màŝéîéŝ: Cîy ô é IàîàîôSeven Ungar

8Màçé Pàô’ŝ Màŝéîéŝ: Màîuŝ, Fày, CÉŝà Rebecca Prîme

28é OD Pô àD é Càéîèé Jean-Luc Lîou

48‘é UDéwôD îŝ î Hîŝ LàDŝ’: Màŝéîéŝ Gàŝé Fîŝ Oîvîer Boher

68Cîéàîç ADààîôŝ ô Jéà-CàuDé Izzô’ŝ Màŝéîéŝ Nôvéŝ Georgîana M.M. Covîe

88Màŝéîéŝ Méî Pô: Iîàŝ, Réuééŝ àD Sàééŝŝ çààçéŝ Henrî-Sîmon Banc-Hoàng

106Rôé GuÉDîuîà àD Aîàé AŝçàîDé: I Côvéŝàîô Georgîana M.M. Covîe

124 125 128

Bàçkàéŝ Resources Conrîbuor Bîos Fîmography

de dicat i o n a n d ac k now l e d g e m e n t s

I wish to most gratefully acknowledge my immense indebtedness to Gabriel Solomons, series editor ofWorld Film Locations, for his exceptional guidance and inspirational leadership at every step of the editorial process of this volume. Without him, it would not have happened. My gratitude goes to Masoud Yazdani and everyone at Intellect as well as at the University of Chicago Press who most thoroughly oversaw this publication, especially James Campbell, Amy Damutz, Melinda Kennedy, Melanie Marshall and May Yao. A very special thank you to Gabriel Solomons and Jean-Luc Lioult for their wonderful location photography of Marseilles. Thanks are also due to Olivier Bohler and Françoise Dravet for lending insight into their hometown of Marseilles, and ﬁnally to the outstanding group of contributors for their dedication to and enthusiasm for the ﬁlms made in the Phocaean City.

m a r c e l l I n e b l o c k

IWôNDTFîR LOôçàDîôUŝCTION Marseîes

marseilles, awarded the titleo European Capîa o Cuure or e year 2013, ‘as a saîsîcay sîgnîIcan presence’ (Reader, p. 6) în Frenc cînema. ï as been saîd a e New Wave was born on Marseîes’ Vîeux-Por – e sarîng poîn o Jean-Luc Godard’sA bou de souLe/Breaess(1960). ïn îs voume, 46 Im scene revîews – aong wî seven essays – raverse Marseîes cînemaîcay. LîkeCîcagoîneUS,MarseîesasbeencaedFrance’s‘secondcîy.’Crîme,endemîcoImîcrepresenaîons o ese wo cîîes, samps em as ocî o vîoence, embemaîzed byJusîn de Marseîe (Maurîce Tourneur, 1935). Jean-Jacques Beîneîx’s ae o rape, suîcîde, and revenge,a une dans e canîveau/he Moon în e Guer(1983) creaed a dark, surrea vîsîon o Marseîes Imed în Cînecîà sudîos, wînnîng e César or Bes Producîon Desîgn. heFrenc Connecîon(Wîîam Frîedkîn, 1971) – e Irs R-raed Bes Pîcure – based on rue evens and parîay so în Marseîes, as a Icîîous seque,heFrenc Connecîon ïï(Jon Frankeneîmer, 1975), enîrey se ere. hese Ims depîc narcoîcs raickîng beween Marseîes and New York, wereasMaîns armées/Armed Hands(Pîerre Joîve, 2012) racks an înernaîona drug/gun rîng rom Marseîes o Parîs, îeong rîva cîîes. Marce Pagno’s îconîc rîogy –Marîus(Aexander Korda, 1931),Fanny(Marc Aégre, 1932), César(Marce Pagno, 1936) – înauguraed a Marseîes myoogy a orms e anîesîs o gangser Ims. hîs rîogy, based on radîîona vaues, sowcases îdîosyncrasîes o souern Frenc cuure: e merîdîona accen accompanîed by gesîcuaîon, Provença specîay cookîng eaurîngbouîabaîsse, card games suc asbeoeor e oudoor ba gamepéanque. Pagno’s narraîves ave cross-Aanîc appea, Irs remade în Engîs asPor o Seven Seas(James Wae, 1938), en as e 1954 Broadway musîcaFanny, produced by Davîd Merrîck and adaped o screen by Josua Logan în 1961. Acor/dîrecor Danîe Aueuî îs remakîng Pagno’s rîogy, wose cas încudes Arîane Ascarîde, a member o Marseîaîs dîrecor Rober Guédîguîan’s roupe. Ascarîde and Guédîguîan are înervîewed în e concudîng essay o îs voume. Pagno’s arceypa Igures are reînscrîbed wîîn Marseîes’ Im canon: în Rîdey Sco’sA Good Year (2006), a caracer named Fanny (Marîon Coîard) evokes e one rom Pagno’s rîogy. Guédîguîan’s Marîus e Jeannee(1997) – or wîc Ascarîde won e César – remînds us o Pagno’s ownMarîus, wîeHonorîne, wo îs e moer o Fanny în Pagno’s rîogy, îs e name o an edery woman în Aaîn Bévérînî’sToa Kéops/Toa Caos(2002; adaped rom Marseîes-born auor Jean-Caude ïzzo’s nove). Dîscussed erewî are ecaanques; e wîndîng srees o e Panîer; Saîn-Cares raîn saîon; Nore-Dame de a Garde; e Vîeux-Por; and ’Esaque, a seasîde vîage îmmoraîzed by Pau Cézanne. he busîng Canebîère îs sung and praîsed în eopéree marseîaîseUn de a Canebîère/One rom e Canebîère(Maurîce Poggî, 1935), wîc boass a îs bouevard ‘goes around e word’, an exampe o e souern Frenc propensîy or exaggeraîon. Jean Renoîr’s Ima Marseîaîse(1938) încudes e eponymous Frenc naîona anem în îs narraîon o e begînnîng o e Frenc Revouîon. Longîme resîden o Marseîes Edî Pîa îs sown, as a young gîr, sîngîng ‘La Marseîaîse’ în Oîvîer Daan’s Im a vîe en rose(2007).es marîns perdus/he os Saîors(Caîre Devers, 2003) brîely eaures a paque commemoraîng Marseîes’ Resîsance durîng Word War ïï. Wreckage rom e Frenc wrîer Anoîne de Saîn-Exupery’s aîrpane – wîc dîsappeared over e Medîerranean durîng an anî-Nazî mîssîon în 1944 – was aer recovered, aong wî îs possîbe remaîns, of e Marseîes coas. Anoer ceebraed Frenc auor, poe Arur Rîmbaud, dîed în Marseîes în 1891, wîe aempîng o rave o Arîca. Seven Ungar’s dîscussîon o ‘Marseîes în îs own îg’ învokes e moo: ‘by er grea deeds, e cîy o Massîîa (Marseîes) sînes’.{

MàçéîéBôçk,EDîô

note to the reader:hrougou e book we ave used e Engîs speîng o e cîy's name 'Marseîes' wî e excepîon o ocaîon înormaîon and Frenc Im îes wîc reaîns e Frenc speîng 'Marseîe'.

WôDFîLôçàîôŝ| Marseîes

MARSEILLES Cîy o he Imagînaîon

marseilles is often dismissedas France’s second cîy, orever în Parîs’ sadow. hîs dîsmîssa îs parîcuary unjus because, îke Lyon, Marseîes’ roe în Im îsory îs dîsîncîve. Lyon’s began în 1895 wî Louîs Lumîère’sa Sorîe des usînes umîère à yon/Empoyees eavîng e umîère Facory, oten consîdered e Irs moîon pîcure. Vîews o Marseîes’ Vîeux-Por and Canebîère suppemen’Arrîvéed’un raîn en gare de a Cîoa/he Arrîva o a Traîn a a Cîoa(1895), so by Louîs and Auguse Lumîère 20 mîes o e sou-eas. Locaîon sooîng was cenra oCœur Idèe/True Hear(Jean Epseîn, 1923), wose sark depîcîon o Marseîes’ workîng-cass waerron urned îs meodrama o a ong-suferîng barmaîd în ove wî a dockworker îno a precursor o 1930s poeîc reaîs Ims. Among em, Marseîes îs e desînaîon o e ocean îner deparîng Agîers a e end oPépé e Moko(Juîen Duvîvîer, 1937). ha year, Marseîes îs aso e de aco end poîn o Edmond (Louîs Jouve) and Renée’s (Annabea) aîed lîg o Egyp înHôe du Nord(dîr. Marce Carné). ha e sequences în Carné’s Im were so on a sound sage demonsraes Marseîes’ împorance as a coonîa meropoîs and por o ca or poîns sou and eas. Wen Sepen

6ôLàçîDFWôŝôî| Marseîes

Text by w STEVEN UNGAR

Hea dubs Marseîes e ‘door o e aerand,’ openîng ono îs overseas empîre, e conIrms e cosmopoîan sense o e coonîa-era por cîy evoked roug arîces Aber Londres repubîsed asMarseîe,Pore du Sud(1926).he Marseîes în Pagno’s rîogy –Marîus (Aexander Korda, 1931),Fanny(Marc Aégre, 1932) andCésar(Marce Pagno, 1936)–remaîns deInîîve în îg o wa Gînee Vîncendeau erms e sîtîng arîbues o ‘Marseîaîs-îy’ across caracers and sîuaîons. Sequences Imed în and around e Vîeux-Por ransorm everyday gesures – Marîus ookîng ou îs wîndow a sîps în e arbour, Fanny a er Is sand, César wakîng roug e por o înorm e prîes o Panîsse’s îmmînen dea – îno eemens o an îmagîned communîy wose persîsence among generaîons o Frenc specaors borders on e myîc. Lîke esanons(sma Igures) radîîonay crated în Aubagne, Pagno’s nearby ome own, e rîogy deInes Marseîes as cîy o e îmagînaîon on regîona/naîona scaes. (hînk France’s equîvaen o e aura radîaed byGone wî e Wînd[Vîcor Femîng, 1939] among Amerîcan vîewers.) Even among deracors wo reduce î o îe more an Imed eare, Pagno’s rîogy remaîns e measure wî wîc subsequen cînemaîc depîcîons o Marseîes conend. Josua Logan’s remake oFanny (1961), sarrîng Cares Boyer, Maurîce Cevaîer and Lesîe Caron, ony eîgens e exended aterîe o Pagno’s Marseîes across generaîons, genres and naîona pracîces. he emoîona warm o Pagno’s rîogy obscures a concurren vîsîon o Marseîes as sîe o vîoence and crîme. hîs second perspecîve, aready evîden în Epseîn’sTrue Hear, and margîna în Pagno’sCésar, buîds on a Cîcago-Marseîes parae.Jusîn de Marseîe(Maurîce Tourneur, 1935) recas eary Amerîcan sound-era gangser Ims cenred upon a carîsmaîc Igure în urban seîngs, încudîng 1931’sPubîc Enemy(dîr.

OppositeThe Transporter(2002) BelowNenette et Boni/Nenette and Boni(1996)

OpApobsoivte Wîîam Weman) andîe Caesar(dîr. Mervyn LeRoy). Ye Tourneur’s ake on e ead Igure’s © 1996 Canal+, Centre National de la Cinématographie (CNC) © 2002 Europa Corp., TF1 Films Production crîmînaîy îs subsumed wîîn a persona eegance a, as în e Im’s îe, exends o e cîy. As expaîned by a resîden, e ow îe o Marseîes îs aso îs îg îe because, among îs gangsers wo beave wî sye, Jusîn îs e mos syîs. As în e pseudo-documenary o e Agîers kasba în Pépé,Jusîneaures sos o sree îe were crîme was oeraed as a daîy ac o urban exîsence. hîry-Ive years aer, moîs o crîme and eegance ake on perîod deaî înBorsaîno(1970), Jacques Deray’s buddy movîe, wose îe evokes înerwar Marseîes roug e upscae brand o edora worn by proagonîss Capea (Jean-Pau Bemondo) and Sîfredî (Aaîn Deon). Grîîer akes on oca crîme în Ims romhe Frenc Connecîon(Wîîam Frîedkîn, 1971) ohe Bourne ïdenîy(Doug Lîman, 2002) andhe Transporer(Louîs Leerrîer & Corey Yuan, 2002) soîdîIed Marseîes’ cînemaîc repuaîon wîîn a goba acîon Im marke. Jean-Luc Godard was îkey înkîng Marseîes-Cîcago wen Bemondo’s Mîce Poîccard seas an Odsmobîe rom e Vîeux-Por înA bou de Even among souLe/Breaess(1960). Ye Godard’s perspecîve deracors who on e Vîeux-Por reduce î o lîTle seems reducîve wen more han ilmed compared oToa heare, Pagnol’s Kéops/Toa Caosrîlogy remaîns he (Bévérînî, 2002), adaped measure wîh whîch rom Marseîaîs noveîs subsequen cînemaîc Jean-Caude ïzzo’s neo-depîcîons ofnoîr rîogy. Marseîlles conend.Marseîes în Rober

Guédîguîan’s Ims Irs appears as updaed versîons o Pagno’s, sarîng a reperory eare approac a ses Ixed roupes o acors wîîn accouns o daîy îe în workîng-cass areas în/surroundîng îs ome own. Guédîguîan’sMarîus e Jeannee(1997) recass Pagno’s meodrama as a romance se în ’Esaque, a Isîng vîage on Marseîes’ ouskîrs.es neîges du Kîîmandjaro/he Snows o Kîîmanjaro(Rober Guédîguîan, 2011) revîsîs îs mîîeu în depîcîng a workîng-cass coupe – Guédîguîan reguars Arîane Ascarîde and Jean-Pîerre Darroussîn – wose peaceu îves în semî-reîremen are saered by a burgary. hîs înrusîon o vîoence aîgns Kîîmanjarowî e grîm reaîsm o Marseîes-Cîcago and poîîcay-engaged Ims suc ase rendez-vous des quaîs/Meeîng on e Docks(Pau Carpîa, 1953) andReour à Marseîe/Reurn o Marseîes(René Aîo, 1980). Guédîguîan probaby cose e îeMarîus and Jeanneeo resonae wî e Irs Im în Pagno’s rîogy. Ye, aong wî Kîîmanjaro,î remînds us a Guédîguîan, wose aer worked on e docks, îdenîIes as a etîs Marseîaîs Im-maker baancîng a predîecîon or a warm reaîsm o uman reaîons wî an equa commîmen o socîopoîîca jusîce. Anoer vîvîd accoun o oca poîîcs îs Marseîes conre Marseîe/Marseîes Agaîns Marseîes(1989–2002), seven documenarîes Imed by Jean-Louîs Comoî (assîsed by Mîce Samson) – a ragîcomîc cronîce o e cîy. Movîng rom e urgency o a new oca poîîcs precîpîaed by socîaîs mayor Gason Deerre’s dea, e rîse o Naîona Fron rîg-wîng exremîsm and emergîng poîîca cou among îmmîgrans, e Ina Im,Rêves de France à Marseîe/Dreams o France în Marseîes(2003), ceebraed e ransîîon rom socîa înegraîon among enîc mînorîîes/women wo ad yîeded o a rue poîîca presence. As a resu, Marseîes îs orerunner o a new France, în wîc racîsm and sexîsm were repaced by ‘raînbow’ coaîîons. Conemporary Marseîes în Guédîguîan and Comoî conIrms e rîse obeurand rancopone cuures among Irs- and second-generaîon cîdren o îmmîgrans rom France’s one-îme coonîes. ïnBye-Bye(Karîm Drîdî, 1995), Marseîes îs no onger sîmpy France’s door o îs coonîa empîre, bu aso a gaeway or ose arrîvîng în France rom îs ormer Arîcan coonîes. No onger apor(por) norpore(door) o e overseas sou, sînce 1990 Marseîes on-screen îs încreasîngy undersood on îs own erms, în îs own îg.{

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MARCEL PAGNOL'S MARSEILLES Marîus, Fanny, César

pagnol and provence.Popuar cînemaîc adapaîons o Marce Pagno’s noves – încudîng Caude Berrî’sJean de ForeeandManon des sources/Manon o e Sprîng(bo 1986) and e mos recen Pagno remake,a Ie du puîsaîer/ he We-Dîgger’s Dauger(Danîe Aueuî, 2011) – ave made Pagno synonymous wî e sun-soaked Provença andscape. However, Pagno (1895-1974) – auor, dramaîs, Im-maker – în îs înîîa orays îno cînema sowcased no so muc e counrysîde, bu raer, Marseîes, e cîy o îs cîdood. Born în e nearby own o Aubagne în 1895, Pagno’s amîy reocaed o Marseîes wen e was 5 years od, were e woud spend muc o îs workîng adu îe. Hîs Marseîes rîogy –Marîus(Aexander Korda, 1931),Fanny(Marc Aégre, 1932) and César(Pagno, 1936) – esabîsed e cîy’s cînemaîc and cuura îmage or decades o come, and remaîns promînen în France’s naîona

8WDôLôFîôŝçàî| Marseîes

Text by w REBECCA PRIME

îmagînaîon: e serîes îs curreny beîng remade în îs enîrey by acor/dîrecor Danîe Aueuî. Pagno wroe e pay upon wîcMarîuswas based wîe îvîng ‘în exîe’ în Parîs, workîng as an Engîs eacer beore acîevîng rapîd success în e eare. he produc o îs nosagîc ongîng, Marîusîs îmbued wî dîsînc oca lavour a Pagno e woud no be undersood or apprecîaed ousîde o Marseîes. Ye e pay was a smas wî Parîsîan audîences. ï conrîbued o e vogue or Marseîes and e sou’s regîona cuure a ook od o France în e 1930s. Wî e adven o sound, Im audîences coud înduge eîr ascînaîon wî e souern accen known as ’accen du mîdî, wîe recordîngs and see musîc markeed Marseîes’ vîbran musîc a radîîon o a broader, Parîsîan pubîc. he pay and Im adapîon oMarîuseaured a cas o perormers drawn argey rom îs radîîon, încudîng Raîmu as César, Orane Demazîs as Fanny and Carpîn în e roe o Panîsse. he Parîsîan Pîerre Fresnay as Marîus was e excepîon – a e more noabe or îs masery o e souern accen. A producîon o Paramoun’s European branc, Marîuswas Imed prîmarîy a eîr sudîos on e ouskîrs o Parîs. he baance beween sudîo înerîors and on-ocaîon exerîors was o cange sîgnîIcany înFannyandCésar, wî over a quarer oCésarbeîng so on ocaîon în Marseîes. hîs sît was acîîaed by Pagno’s reocaîon o Marseîes, were e ormed a Socîéé des Fîms Marce Pagno în 1934. ïn addîîon o îs producîon and dîsrîbuîon company, e esabîsed îs own producîon acîîîes, consîsîng înîîay o a sma sudîo and processîng ab, soon expandîng o încude severa sound sages, edîîng and vîewîng rooms, as we as admînîsraîve